THIS BLOG IS ABOUT 7" RECORDS ONLY. YOU CAN NEVER HAVE TOO MANY. EVERY SONG IS CONVERTED TO MP3 FROM MY PERSONAL 45 COLLECTION, AND THERE'S NOT ONE THAT I WOULDN'T RECOMMEND YOU SEEKING OUT. ANY COPYRIGHT HOLDERS WHO DON'T WANT THEIR MUSIC HEARD HERE JUST LET ME KNOW, AND DOWN IT WILL COME. CLICK ON ANY IMAGE TO ENLARGE.

Archive for the ‘Harvest’ Category

In summer ’73, you could hear ‘Caribbean Moon’ incessantly on BBC Radio 1. I know, I spent most days lying in Regent’s Park with a transistor clamped to my ear. Occasionally a policeman would wander by instructing me to turn it off. Radios were not allowed in the Queen’s Parks.

By late afternoon, I’d start my rounds of the used record stands in Soho market, before going to meet my girlfriend Claire as she got off work at the Scotch House on Regent Street. Over to The Ship on Wardour we’d go, to have some beers and maybe a sandwich if money permitted; then onto the Marquee for work.

Yes, my job consisted solely of collecting empty pint glasses for the kitchen. I was not the washing up fellow, so felt a bit of seniority on my side. The obvious perk, in addition to free beers for us both, was seeing the bands. And guess what, this was simply a daily routine for months. I had a job which paid £1 a night, lived in the west end of London and had access to the latest 7″ promo singles daily. It’s seldom been better.

Glued to Radio 1 morning til night meant getting to hear a lot of great records, many of which somehow never charted: The Kinks ‘Sitting In The Midday Sun’, Blue ‘Little Jody’, Writing On The Wall ‘Man Of Renown’, Frampton’s Camel ‘All Night Long’. This Kevin Ayers single unfortunately, was one as well.

I guess it wasn’t only me that thought it should have been a smash, as Harvest reissued it at least twice more within the next few years.

There were a few resident dj’s at The Marquee. I want to say Ian Fleming and Jerry Floyd. Well Jerry someone, maybe Lloyd. Both guys were pretty cool, and we had a bit of a rivalry going on as to who could get the latest releases first. I did love when I flanked them after all, they were being serviced by the labels whereas I was slogging around the stalls picking singles up for 10p, maybe even a few they had handed off. All in good fun though.

I recall excitedly getting in one night, with this latest Kevin Ayers release. Radio 1 were already playing ‘Caribbean Moon’, but we were all jonsing to hear it’s B side ‘Take Me To Tahiti’. Everyone I knew was insatiable for Kevin Ayers that summer. Oh Lord did it sound spectacular playing through The Marquee’s sound system. Yes, this very single you see pictured above was the one that got spun at The Marquee that July night. Click on schedule above to enlarge, just to have a look at who was playing that month.

I’d always hinted to Jack Barrie, the club’s manager, that I should be the dj, but it never did happen.

Although never quite as excited when older songs would re-grace a 7″ based on reissue packages, this was an exception. Not as common these days, but in the 70′s, several bands found a stronger footing a bit down the career road. At the time, the periods between original and repackage felt like generations, but in hindsight they were only a few short years.

In the case of Kevin Ayers & The Whole World, the band’s third single, ‘Stranger In Blue Suede Shoes’ / ‘Star’ was originally released as Harvest 5042 in early ’71. Fast forward five years and ‘Stranger In Blue Suede Shoes’, a featured track on ODD DITTIES, a hitless greatest hits type compilation loosely celebrating his return to the Harvest label after a few singles and albums for Island, graces the market to promote the project.

By now the label copy was only crediting Kevin Ayers, and his credibility high via associations with John Cale and Nico. Thread in The Velvet Underground and all the punks immediately respect you. Boom. Plan.

Thing was, the appreciation was more than justified. He and his band made four nearly flawless albums for Harvest initially. And so his return to the label and promise of greatness to come was plenty of reason to tell the world of brand new ears all about his catalog highlights. I couldn’t get my hands on this 7″ fast enough.

In those days, you often knew only of a UK single’s existence and one would anxiously await the post to turn up with that special ordered copy, or a local import shop may stock a few. They usually catered to albums as opposed to 7′s though. And no one but me was buying a Kevin Ayers single, hence the special order process necessity.

Well I was thrilled when this one arrived. The real charge being being the B side ‘Fake Mexican Tourist Blues’. Known amongst his rabid followers, like me, as a must hear unreleased track from his WHATEVERSHEBRINGSWESING album sessions, you could say the five year wait was worth it. Lyrically hysterical, almost faux reggae. Expect the unexpected from Kevin Ayers every time and you won’t be let down.

‘Fess, as he was known to friends and fellow musicians, waited thirty years after releasing his first single before making a lone trip to the UK. The master of “rhumba-rhythmed piano blues and choked singing”, to quote journalist Tony Russell, was promoting his PROFESSOR LONGHAIR LIVE ON THE QUEEN MARY album and ‘Mess Around’ single. Recorded on board said ship during a party thrown by Paul and Linda McCartney, the album is an oasis worth searching out.

Through time, his invention of what became known as the New Orleans Mardi Gras sound has been revered by everyone from Fats Domino and Huey Piano Smith to Allen Toussaint and Dr. John. Despite a most productive period on Atlantic Records in the 50′s, he never had mainstream success, instead spiraling downward during the 60′s and 70′s, landing work as a janitor saddled with a gambling addiction. Only during the last years of his life did he begin to see royalties of any kind. And so with little fanfare, bless Paul and Linda for coming to his aid, helping secure a deal with Harvest, and giving him a deserved, overdue break.

Your initial listen through ‘Mess Around’ will simultaneously reveal everything about his distinctive, one of a kind style, apparently the result of learning to play on a piano missing several crucial keys.

Many times when legendary players, years on, try to recapture their spark via a current, contemporary album, the magic sounds tired or lost altogether. Not the case here. Not in the slightest.

You know you’re in England by switching on BBC Radio 1 midday to find this playing. Happened to me. Arriving in the UK, a wide eyed kid finally making it to this fantasy land only previously having dreamed existed, I felt like once and for all, I’d found my natural habitat.

Now such privileged music accessibility is a click away, but in ’73, things were way different.

Never did figure out where that quacking sound helping make up the beat originated from. Might be my first question for Kevin Ayers if ever we meet.

‘Oh! Wot A Dream’ is yet another stellar track from his flawless BANANAMOUR album, a gem worth digging hard and paying highly for.

Kevin Ayers has stated in interviews that ‘Oh! Wot A Dream’ was about his friend, colleague and Harvest label mate Syd Barrett.

“You are the most extraordinary person / You write the most peculiar kind of tunes / I met you floating as I was boating / One Afternoon”.

A famous writer once told me Roy Wood’s songs were never about topics that the critics and public assumed. For example, at the height of LSD psychedelia, we’re talking summer ’67, ‘I Can Hear The Grass Grow’, recorded by his band The Move, was indeed based on a children’s fantasy story, not drugs. This particular detail, in fact, from Roy Wood himself. Apparently, he never did drugs.

So it’s an interesting theory that ‘I Wish It Could Be Christmas Everyday’ was indeed not a seasonal song at all, but instead about one’s beloved coke dealer. Pay close attention to the lyrics: “When the snowman brings the snow…”, etc. Quite a hilarious double entendre indeed.

More interesting to myself though are the details about this single’s actual appearance into the UK marketplace.

Roy Wood and his band, Wizzard, were red hot property in ’72. And after two consecutive #1 singles, the first, ‘See My Baby Jive’ reportedly being one of the all time biggest selling UK singles, at least for a while, he could basically write his own ticket.

Possibly resulting from both bad judgement and advice, Roy Wood prematurely signed to Warner Brothers after a very successful run with the EMI group’s various labels, and planned on releasing ‘I Wish It Could Be Christmas Everyday’ via his new label home. Warners even pressed up copies, complete with an elaborate picture cover, the front of which is pictured above. In actuality, the sleeve was a gatefold, and an absolute beauty.

Someone, somewhere put a halt, I’m guessing by pointing out that EMI’s Harvest label indeed still had the rights to his output, and so the Warner Brothers copies were withdrawn, subsequently never to be seen again. Well until now, above.

The existing sleeves, however, now housed the Harvest pressing, without the bother of even stickering over the Warner Brothers catalog number. And why not? The record still barreled to a UK #4 in ’73. A true work of genius, right down to the children’s choir, possibly signing about the joys of cocaine. How funny if indeed this were fact, but given Roy Wood’s public aversion to drug use, probably not the case.

To slightly complicate these details and unfortunately ruffle some hard core collector’s coloured feathers, Roy Wood’s US label at the time, United Artists, basically chickened out on giving ‘I Wish It Could Be Christmas Everyday’ a proper release, so instead pressed up weird bootleg looking copies, servicing them to radio.

Huh? Is this a way to make stations feel a commitment to your act? Stupidity of the highest degree, but as a result, adding incredible value to the handful of copies in existence. Thank you Rich Fazekas for mine.

Two years ago, I was in a Bed, Bath & Beyond, scouring some last minute gifts for obligatory friends, when what came over the store sound system? ‘I Wish It Could Be Christmas Everyday’. Only took thirty five years.

More importantly, a classic song is forever just that, a classic. Roy Wood has been recognized as a living Beethoven, and I am front of the line in agreeing.

‘I Wish It Could Be Christmas Everyday’ has re-charted in the UK many times during the holidays: ’81, ’84, ’07, ’08, ’09 and ’10. I’m betting on ’11 to repeat that process.

If you’ve been reading these posts during the last few days, it’s obvious the July 4th weekend leaned prog rock. Our excursion into the depths of upstate New York had me driving randomly through small towns in search of the ultimate garage sale. Look and you shall find, or something like that. We stumbled on two with massive amounts of prog vinyl, about one hundred miles apart. Very unexpected and a bit baffling. At $1 each, it was hard to pass up stacks of valuables that included various Vertigo swirls and Harvest titles.

Forget all the lengthy album tracks that littered prog long players, even more bizarre are the 45′s from the genre, all attempting to make playable versions of non-songs into songs. Fun stuff.

The mid 60′s mod organ style, hugely influenced by both Jimmy Smith and Jimmy McGriff, was still evident on ‘Devil’s Grip’, the ’67 debut single from The Crazy World Of Arthur Brown. The record tipped toward it’s followup, ‘Fire’, which despite it’s shrill sonic onslaught, became a massive worldwide hit in summer ’68.

Turns out Vincent Crane’s Hammond shaped the band as much as Arthur Brown’s voice and theatrics. Their sole album is a struggle to listen to often, if ever, these days. The sleeve was great, and live, the band were a blast, but being perfectly honest meant everyone I knew regretted having laid out the cash to buy it.

‘Devil’s Grip’ may not be the greatest song, but at times, the non-LP track swings more than any other on the album.

Way more importantly, B side ‘Give Him A Flower’ is a gem. Borrowing from vaudeville and I’m guessing, coincidentally from The Bonzo Dog Band, the track may be their one and only example of getting a little loose in the pub before heading to the studio, sense of humor in tact.

This isn’t the first time SMRSLT has celebrated Roy Wood’s mere presence on this earth. Thankfully, he was awarded an honorary doctorate for his contribution to music by the University of Derby as recently as January 18, 2008. After all, the guy mastered guitar, bass, sitar, cello, double bass, saxophone, clarinet, trombone, tuba, recorders, oboe, French horn, banjo, mandolin, bassoon, drums, percussion, vibraphone, bagpipes and keyboards. And as a songwriter, well he’s an international treasure.

As much as The Move played a vital building block in my musical preferences, Wizzard contributed equally. For one thing, I’d finally gotten the 50′s RnR humor that had before passed me by. In the looks department, I was crazy about his multi-colored hair extravagance that, during the height of Glam in ’73, seemed commonplace. Luckily, when I landed in London that June, ‘See My Baby Jive’ was everywhere, on every pub jukebox, on every radio station.

‘Angel Fingers’ raced to #1 that fall, and if you can believe it, I loved it even more. I could never understand why no one in the US cared about Wizzard. How could anyone seriously prefer The Marshall Tucker Band or Wet Willie (yes, ‘Keep On Smilin’ is great) to this bunch? Still baffling.

Of equal amazement at the time was the complete US musical disinterest in anything Christmas. Now, from Thanksgiving onward, we’re bombarded with seasonal music. Not so in the 70′s, bar maybe the Brenda Lee classic. Roy Wood had just signed to Warner Brothers, and in their haste, mistakenly pressed copies of what was clearly about to be a seminal record (see above – now how did they get those masters?). Harvest adamantly maintained ownership to ‘I Wish It Could Be Christmas Everyday’, and so (most) of the WB vinyl was scraped, but the sleeves (in possibly the label’s first attempt to be green) were saved and passed on to Harvest, who proceeded to use them for their release despite the Warner Brothers catalog number still present on the packaging.

So some 36 years later, on December 24, 2009, as the single’s yearly re-entry sat at #45 in the UK chart, what do I hear in Bed, Bath & Beyond?: ‘I Wish It Could Be Christmas Everyday’. Finally, and I lived to witness it. Despite my excitement, no one else flinched. Still, a joyous moment.

I’ve been unable to even write an entry these past few days due to my loss on eBay. I desperately wanted to win the US Fontana stock copy of The Pretty Things ‘Midnight To Six Man’, which finally appeared for sale last week. In fact, I’ve wanted one my whole life. I have the US wlp, the UK copy etc – but not a US store pressing. Somehow eBay is claiming my user name/password didn’t match – mind you I’ve not changed them in probably ten years since joining. Therefore my $200.00 bid went unplaced, and a lucky fellow in Europe grabbed it for $31.00. I’ve tried emailing him, offering to buy it – but no reply. Not even a sympathy condolence. So I’ve been literally shattered. Anyone know of a copy I could buy? Name your price.

I always sent off to England for their singles starting around ’68. Lucky for me, I have nice copies of every release. I was a bit disappointed in ‘October 26′ upon arrival. It was tired sounding, and by far their weakest track of the period, logically not finding a place on their PARACHUTE materpiece. I figured just to be clever, I’d post it today, due to it’s namesake.

However, the B side ‘Cold Stone’ was a whole other story. It made up for the A side’s wimp. Phil May’s addictive vocal in full frontal attack, it couldn’t hide their RnB baby steps. Who the fuck was picking the A sides at Harvest then is what I’d like to know. Peter Jenner….can you answer that question?

What do Love have in common with The High Numbers, JJ Cale, The Kinks, The Rolling Stones, Mose Allison and Rockpile? Well, in this case, Tom Petty. He played them all, and more, on his Sirius/XM radio show, which I heard for the first time on the red eye from Seattle to New York Saturday night.

I don’t own a satellite capable device having been so disinterested in American radio for decades, and very bitter that it’s dummied down music as being a big part of culture in the US. Therefore figured it was more of the same. A few friends have, to be fair, tried convincing me otherwise. The very first time I heard it, on one of the now partnered networks, was in Kimberly Boley’s office at Sony. I asked her what she was listening to and she said satellite radio and that she loved it. I said sure but do they play The Cramps, just to throw a real wrench into the moment. She dialed up their station that most likely would, and The Cramps were playing that very second. Swear to God. I guess I should’ve taken it as a sign.

The flight was meant to be a time to finally get some rest. I’d been on Matt & Kim’s tour for several days and it had been non stop, stay awake. But this flight I’d earmarked as a sleeper. That was not meant to be. Spent the whole time flipping round these channels, then started jotting down some of the things I’d heard and kinda liked (The Soft Pack, Titus Andronicus), and some records I needed to look up once in the house to be sure I had (Chuck Jackson & Maxine Brown, Titus Turner, Bobby Womack). It was a noticeable change hearing so much variety: Lemon Jelly, Roxy Music (two stations playing two different songs simultaneously), Mott The Hoople, Eurythmics, LCD Soundsystem, Joan Armatrading, Nick Drake, The Nice. It was endless. You see, there is room for everyone. What a democratic concept.

There’s one thing that hasn’t changed though: the tired, lazy, hokey US DJ presenter. Does a building need to fall on these people? Unlike the BBC, and Radio 1 in particular, that presentation is lightning fast sonically and annoucer-wise. So with the luxury of access to BBC stations (Radio 1, 2, 6, Radio London) via internet streaming and my new discovery of satellite, I think things are pretty tolerable out there. I’d get subscribed up if I ever drove anywhere.

Back to Tom Petty’s program. He played Love’s ’7 And 7 Is’ on this particular episode. Interestingly named, I’ve always had a love/hate relationship with Love. Many times, I crave hearing the music and thoroughly enjoy it. Other times, it sounds so lame, and twee, and overrated.

Some strong opposing opinions out there about Arthur Lee too. Met him the one time, and he was cool about doing the jukebox tab, but I was with Gary Umbo, a Love hardcore who I’m pretty sure Arthur knew and was friendly with. Undeniably some great singles though, and if you’re like me, it’s hard to forget the first time hearing ‘My Little Red Book’. It was a pretty big hit everywhere rightfully. Then ’7 and 7 Is’ came out, and that was the loudest cut record I’d ever heard. You can’t turn it down. Just try.

When I worked at Elektra in ’85, our mailroom guy Mark Cohen came down to my office telling me there was a closet that was about to be part of the renovation underway to create more office space. It was full of old chairs, cabinets, typewriters AND some boxes of old 45′s. Was I interested, they’ll be tossed otherwise.

It was a treasure trove. About 200 singles in all, and a virtual history of Elektra’s early 7′s. So many amazing things, I never separated the lot, kept them as they were. Loads of Tom Rush, The Voices Of East Harlem, The Paul Butterfield Blues Band, Beefeaters, Tim Buckley, plus a mixture of US and UK presses.

Every Love single was there, promos and stock, and some UK copies as well. Many are pictured here. Note the withdrawn copy of ‘Stephanie Knows Who’ / ‘Orange Skies’ (EK 45608). The catalog number was re-assigned as EK 45608 (REV). I’m guessing to indicate ‘revised’, replacing the A side with ‘She Comes In Colors’. I knew of the switch but wasn’t aware original copies had been pressed until that day.

Also, for some reason unknown as it wasn’t an Elektra master, the pile included a UK pressing of ‘The Everlasting First’. It was originally released in the US on Blue Thumb, Bob Krasnow’s label. Although he was our chairman and boss at Elektra, he had no idea why the record was included there either. “Maybe I gave Holtzman a copy then, and yeah that is Jimi playing the lead”. Thankfully he didn’t reclaim it.

Not long after, the front desk somehow decided to forward through an irate Arthur Lee to my line. I pick up and he launched into a rage about unpaid royalties and how Elektra, and even I myself, were stealing from him, so much so that he had to move in with his aunt in Nashville or some such place. I was very unequipped to handle this one, so politely sent him through to Gary Casson in business affairs, where I’m sure the rampage ended abruptly.